"Salad Days" by Julian Slade and Dorothy Reynolds.

Nottingham Lace Market Theatre.

This is the final production for the Nottingham Lace Market Theatre's current season, and it's a musical; a musical that is not often performed. So what's the story? Lettuce enlighten you!

It is Summer 1954. Jane and Timothy Dawes meet in a park, soon after their graduation, to plan their lives. They agree to get married, and do so in secret, but Timothy's parents have urged him to ask his various influential uncles to find him suitable employment. He and Jane, however, decide that he must take the first job that he is offered. A passing tramp offers them £7 a week to look after his mobile piano for a month, and, upon accepting, they discover that when the piano plays it gives everyone within earshot an irresistible desire to dance.

After attempts by the Minister of Pleasure and Pastime (Timothy's Ministerial uncle) to ban the disruptive music, the piano vanishes, and Timothy enlists his scientific Uncle Zed to take help them retrieve it. When it is found, the tramp reappears to tell them that their month is up and the piano must be passed on to another couple. Another secret is also revealed to the couple!

The show is longer than I expected, but there is so much going on in the musical that the time simply flew by. It's very dated but that is what makes it such good fun. The show wouldn't work if there were any updating of the material. I loved the accentuated RP accents, along with several other accents, mostly over the top; another thing that makes this show such a spiffing watch. It's camp, it's corny and it's a cracker.

The script is packed with corny jokes, that had the audience groaning, delivered by actors who, having seen several of them in previous shows across the county, know how to deliver a comedy line.

Throughout Act One, the male contingency of the cast really outshone the women, especially with their vocals, but come Act Two and it became a more level playing field, and by the end they were all on a par. Maybe because it was one of those rare full on musicals performed at The Lace Market Theatre, there were a few nerves, plus it was opening night which always adds pressure to a performance.

Ali Biller (Lady Raeburn/Artist/ Theatre Goer/ Arms Dancer/ Anthea and a Don), always pleases on stage because she has that smile, which we got to see lots of in this musical; there's plenty to smile about in her various roles, and what a collection of costumes Ali gets to wear as well. Ali is also the choreographer for this show, which I am sure that she had fun with, because from the audience view, it was great fun to watch.

George Bond (Asphynxia/Troppo and a Don) is a name I don't think I know, but what a find! Troppo's character converses by mime, and it's refreshing to see this on stage. George's second character is a complete contrast, but I'm not going to say why, but I know for a fact that this is a very comfortable role for George, which shows. No other cast member would have been able to perform the role as convincingly, or as splendidly as George does. A new musical theatre star is born.

William Evans (Timothy Dawes) seems to get younger with every show. Another perfect piece of casting because William plays this 1950's style character with fresh-faced fantastic foppishness. At times he is almost like an excitable puppy, full of playful energy; at other times reminiscent of a character from the Famous Five books. His singing is also worthy of a mention as he mastered the clipped delivery while singing, bringing the real feel of the novelty vocals from big bands of that era such as Henry Hall into play.

David Gyles (The Tramp/ Bishop/ American/ Tom Smith/ Press and a Don), again a master of several characters, delivered with great entertainment value throughout.

Rob Hurst (Inspector/ Timothy’s Father/ Butterfly Catcher/ Augustine Williams and Don). The Postman is back! I loved one of the opening scenes where Rob is playing Tim's Father around the breakfast table as this showed his, and the other cast members' timings in their song, telling Tim that he has to find a job and something to do. His role as the Inspector is also comedy class as he tries to work out which style of dance PC Boot had been performing in the park. Wonderful comedy pairing with Jarrod for these scenes.

Ro Kelly (Jane Raeburn) is another perfect match as Timothy's "wife". they really bounce off each other. Ro has a singing voice that matches this era perfectly, which seemed to grow stronger as the musical progressed.

Jarrod Makin (Manager/ PC Boot/ Electrode/ Ambrose and a Don). I've had the pleasure of seeing Jarrod perform, and grow as a performer, right from the start. He is an all-rounder; he is perfect for comedy, he can act, dance and sing. This is borne out by the opening of Act Two.

Anne Mccarroll (Timothy’s Mother/ Heloise/ Lady/ Sunbather/ Marguerite and Don). As with Ali, I love seeing Anne perform, and lovely to hear her sing as she has a pretty powerful set of lungs on her. There's a lovely duet with Ali, as the two mothers of Timothy and Jane, and their voices blend well, and this is where we first get to hear that power.

Christopher Mercer (Sir Clamsby Williams/ Uncle Zed/ Theatregoer/ Gardener/ Press and a Don). I love Chris in panto mode, and these roles work so well as pantoesque characters. For me, Chris brings any comic character alive, and with his wonderful projection, he makes sure that even the back of the theatre get to hear some very corny one liner jokes, whether they want to or not!

Lucy Moon (Rowena/ Aunt Prue/ Manicurist/ Waitress/ Lady and a Don). A lovely various selection of roles which Lucy injects character into, ensuring that you don't overlook her characters.

Isobel Munden (Fiona/ Shopgirl/ Tennis Player/ Assistant and a Don). There are several "cameo" characters throughout this musical and, as with Lucy, they stand out due to the work put in by the actor. Isobel is another example of this.

Owen Patten (Nigel/ Fosdyke and, surprise surprise, a Don). Many stiff upper lip characters you find seem to attract disrespectful laughter, but Owen's characters didn't make me feel that way. They are "nice" guys, albeit extremely well off, and it's nice to see that image of a toff played down to represent a likeable character. And along with that breeding comes style, and you don't get more stylish than a tuxedo to wear. What glamour Owen portrays.

The whole cast have been really well chosen for their characters.

Directed by Meng Khaw, he has delivered an excellent piece of theatre full of charisma, charm, immense fun which bounces along at a lovely pace. As I previously hinted, the musical comes in at just under three hours - with interval - but seems a lot shorter, due to the talents of the cast to keep their audiences' attention. It's nice to have Meng back in the theatre in any guise; actor, Director or even Musical Director which is another hat Meng adorns throughout this week as well as providing the music for "Minnie" live.

There are several earworm songs in this production so be prepared to leave the theatre with them buzzing around your head. "We Said We Wouldn't Look Back", "The Saucer Song", "It's Easy To Sing", "We're Looking For A Piano" among them.

The Sound Design is by Jonathan Blacknell and you get to hear everything that you need to hear with crystal clear clarity. As all the actors were not mic'd up, there were no issues with missed cues of any kind because projection was in the hands, or should I say the tonsils of their beholder.

Lighting Design is by Matthew Allcock. Spot on, as always and his timing was excellent.

The Digital Design, by Meng and Matt, is inspired to say the least. The University scenes, you'll recognise and the opening, as images of 1950's adverts and television stars bring back memories. The design also shows the various scenes without having to move any parts of the set, which is also a help with pace.

Stage management also works at speed to clear props away behind the curtains, which we never really get to see on stage unless there is a musical being performed, so it's nice to see the curtains again.

I touched on the costumes and yet another success for Max Bromley and his Wardrobe team.

Even though this was not originally written as a musical, an end of the pier revue was it's intention back in 1954, it's great fun musically, and while the story is dated, the comedy is still very funny, which proves that good comedy transcends time. And it's nice to hear a musical which has only a piano backing, anything more would spoil the feel of the show. One not to be missed so it can be ticked off the theatrical bucket list.

"Salad Days" is at the Nottingham Lace Market Theatre until Saturday 29 July.